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03756aam a2200505 i 4500 001 9D970250E96D11E8978F920F97128E48 003 SILO 005 20181116010210 008 170728s2018 okuab b s001 0 eng 010 $a 2017035329 020 $a 0806160039 020 $a 9780806160030 035 $a (OCoLC)995805987 040 $a DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d BDX $d OCLCQ $d YDX $d ERASA $d FXM $d YDX $d SILO 042 $a pcc 043 $a n-us--- $a e-fr--- $a n-us--- 050 00 $a NX653.W47 $b B87 2018 082 00 $a 700/.45878 $2 23 100 1 $a Burns, Emily C., $e author. 245 10 $a Transnational frontiers : $b the American West in France / $c Emily C. Burns. 264 1 $a Norman : $b University of Oklahoma Press, $c [2018] 300 $a xi, 231 pages : $b illustrations (some color) ; $c 28 cm. 490 1 $a The Charles M. Russell Center series on art and photography of the American West ; $v volume 29 504 $a Includes bibliographical references and index. 520 8 $a When Buffalo Bill?s Wild West show traveled to Paris in 1889, the New York Times reported that the exhibition would be ?managed to suit French ideas.? But where had those French ideas of the American West come from? And how had they, in turn, shaped the notions of ?cowboys and Indians? that captivated the French imagination during the Gilded Age? Emily C. Burns maps the complex fin-de-siecle cultural exchanges that revealed, defined, and altered images of the American West. This illustrated visual history shows how American artists, writers, and tourists traveling to France exported the dominant frontier narrative that presupposed manifest destiny - and how Native American performers with Buffalo Bill?s Wild West and other traveling groups challenged that view. Many French artists and illustrators plied this imagery as well. At the 1900 World?s Fair in Paris, sculptures of American cowboys conjured a dynamic and adventurous West, while portraits of American Indians on vases evoked an indigenous people frozen in primitivity. At the same time, representations of Lakota performers, as well as the performers themselves, deftly negotiated the politics of American Indian assimilation and sought alternative spaces abroad. For French artists and enthusiasts, the West served as a fulcrum for the construction of an American cultural identity, offering a chance to debate ideas of primitivism and masculinity that bolstered their own colonialist discourses. By examining this process, Burns reveals the interconnections between American western art and Franco-American artistic exchange between 1865 and 1915. 651 0 $a West (U.S.) $v In art. 650 0 $a Indians of North America $x Material culture $z West (U.S.) 651 0 $a France $x Civilization $y 1830-1900. 651 0 $a France $x Civilization $y 1901-1945. 651 0 $a France $x American influences. $x American influences. 651 0 $a United States $x Relations $z France. 651 0 $a France $x Relations $z United States. 650 7 $a Civilization. $2 fast $0 (OCoLC)fst00862898 650 7 $a Civilization $x American influences. $2 fast $0 (OCoLC)fst00862901 650 7 $a Indians of North America $x Material culture. $2 fast $0 (OCoLC)fst00969831 650 7 $a International relations. $2 fast $0 (OCoLC)fst00977053 651 7 $a France. $2 fast $0 (OCoLC)fst01204289 651 7 $a United States. $2 fast $0 (OCoLC)fst01204155 651 7 $a United States, West. $2 fast $0 (OCoLC)fst01243255 648 7 $a 1830-1945 $2 fast 655 7 $a Art. $2 fast $0 (OCoLC)fst01423702 830 0 $a Charles M. Russell Center series on art and photography of the American West ; $v 29. 941 $a 1 952 $l OVUX522 $d 20191213015052.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=9D970250E96D11E8978F920F97128E48Initiate Another SILO Locator Search